Playful poster and T-shirt for The Word Radio, designed by the talented Alliage duo (Lucile Martin and Julien Pik) from Brussels. With the support of Everett Mono by Nolan Paparelli (TYPE.WELTKERN®) and a custom drawn logotype from Alliage.

Œuvres d’art contemporain dans l’espace public à Chagny (“Contemporary artworks in Chagny’s public space”) is a kind of tourist guide with an integrated map, documenting works of contemporary art in the public space of Chagny (Bourgogne-Franche-Comté, France).

170×240 mm booklet with a folded cover, 16 pages in CMYK and bronze, 1,000 copies. Designed by Atelier Tout va bien and published by DRAC Bourgogne-Franche-Comté with the City of Chagny.

Plus is a biannual magazine that explores creativity with rising and established artists. Each issue features experienced voices in order to inspire those who are developing their craft and working towards establishing their careers. Alex Hunting Studio were tasked with developing the design direction for the launch issue of Plus, which focuses on the theme of “Journey”. We created a fresh aesthetic that centred around a strong and dynamic typographic style.

Elyssa Sardy is a Pilates Barre Fitness Educator and Movement Lover from Detroit. She “is a motivated instructor who thrives on pushing her clients to reach their goals by bringing a fresh enthusiastic approach to every class and session she teaches.”

On the website, IvyJournal is used for both headline type and text. Work Sans is used for navigation links.

Cover for a booklet with a speech held by Leon Trotsky at the 5th All-Union Congress of Medical and Veterinary Workers, June 21, 1924.

“The British monarchy, hypocritical British conservatism, religiosity, servility, sanctimoniousness—all this is old rags, rubbish, the refuse of centuries, which we have no need for whatsoever.”

This edition was published by New Park, London in 1965; reprinted from Fourth International [London], Summer 1964; and translated by Brian Pearce in 1960. The title is set in Grotesque No. 7, a bold member of Stephenson Blake’s series of Condensed & Elongated Sans Serifs, with one word per line. The name features italic caps from Grotesque No. 9, and the small type is in right-aligned Gill Sans.

Principles of Wealth is personal non-profit project summarizing Naval Ravikant’s tweets and podcast about “how to get rich without being lucky.” It was made to explore my development and design skills, adding typography in the mix. I live-tweeted about the process.

For the website, I paired two typefaces. Headings are in the Black weight of MADE Canvas, which is simply a beautiful bold font. When animating the headers, it almost looks as if they “twirl” during the transition. For the body copy, I chose Abhaya Libre, as I find it a pleasant reading font and it paired nicely with Canvas. Another reason why I worked with these fonts is that Abhaya Libre is available under the Open Font License, and MADE Canvas is free for non-commercial use.

La voz de una ciudad (“The Voice of a City”) is a (fictional) newspaper that exposes the humane side of the city of Barcelona, through stories, places, profiles and small anecdotes of persons that serve as inspiration to reveal an authentic city.

A Barcelona that is lived, not visited.

Final class project for the Postgraduate Diploma in Graphic Design and Publishing Projects in ELISAVA School of Design, under the direction of Albert Folch (Folch Studio). This is a non-commercial project. See more at Behance.

A well known music journalist and long time friend of White Shoes and The Couples Company (a band from Indonesia), Felix Dass finds himself on a journey to Darwin, Australia together with the band. In this book he writes about his bizarre experiences during their Darwin tour.

It’s been long known that White Shoes and The Couples Company draws inspiration from a variety of retro Indonesian sounds. But the documentation on the Darwin tour portrays a lot of experiences offstage in a casual manner so the challenge is more on how to stay true to the story but still be able to deliver the band’s flavour to their fans.

For the book typography we’ve chosen Druk WIde by Commercial Type for headlines, because of its sturdy and durable qualities. Using a serif font for long-form text is still the way to go, so we've chosen Inknut Antiqua by Claus Eggers Sørensen for the body copy.

The cover was screen printed on colorplan paper. Munken Pure paper was used for the book interior.

Be On The Right Side of History is a poster give-away inspired by the Women’s March in 2018, when millions of people around the world stood up for equal rights and demanded change from their governments. To commemorate the moment, designer Anjela Freyja created 21 posters, all inspired by first, second and third wave feminists, featuring messages that draw attention to the fight for women’s rights.

The Be On The Right Side of History project uses Tusker Grotesk. Some characters have been slightly edited to fit the design.

These posters and more are available for free. See also this post about the font used for the website.

On the “No Means No” poster, the N in the first “No” still has the original ink traps, but the “N” in the second “No” has them removed. This is probably an oversight.

In Tusjer Grotesk, the beard in G is tapered. It was straightened here.

A series of type-only posters for the Russian Beat Film Festival 2018, a “documentary festival on new culture”. The heroes of this edition are highlighted through text, using GT Sectra from Grilli Type and Aperçu Mono from Colophon.

After five years and six issues, our time as the designers of the architecture magazine Quaderns has ended. It hasn’t been always easy and there are things that could have gone better, but there is one thing we are very happy with: the tone we achieved. For us, the content and form of the magazine should reinforce its temporary nature. A magazine is a document of its time. Contrary to a book, its frequent publication allows an immediate response to currently relevant themes. These themes may be irrelevant in a year’s time, but by then a new issue will be out anyway.

With each issue of Quaderns we tried to express the unfinished state of an immediate response to a specific moment and theme. Rather than giving answers, we tried to raise new questions. Allowing different voices, sometimes contradictory, to appear. In each issue we celebrated imperfection and incoherence. Not just because we thought this to be the adequate answer to the problem of Quaderns, but also because we felt that design in Spain at that particular moment was stuck in a neatly composed nostalgia. A lot of designs looked like an idealized version of northern European design from the seventies. For us, this did not and still does not make any sense, especially considering the times we live in.

This issue of Quaderns explores some of the questions raised in the previous one, “House and Contradiction”. While that issue focused on the relationships between domesticity and politics, this one aims to analyse the relationship between domesticity and the public space. This is a logical continuation if we take into account to what extent the very definition of the domestic often blurs the boundary that exists between the urban sphere and the home, between the public and the private. It is impossible to understand the domestic without understanding its indissociable bond with the public space, their complementary nature.

Design: TwoPoints.Net
Client: COAC
Year: 2016

To familiarize new students with the workings of the Royal Academy of Art, they will receive a pair of books, bound together by an elastic string. One of of the books holds all study information, while the other is usable as an agenda throughout the year, highlighting important dates such as cultural and academy-wide events.